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www.postmagazine.com 2 POST OCTOBER 2017 EDITOR'S NOTE recently had a chance to visit two studios here in New York City, both with their own unique way of attracting and keeping clients while extending their businesses. Earlier this year, audio post company Sound Lounge introduced Sound Lounge Everywhere, a remote audio post/sound mixing service that allows clients in the Boston market to access the mixing talent at its New York location. The studio initially partnered with NYC's Nice Shoes, which in recent years has expanded its business to offer remote color grading services. Together, they offer their respective services via the Boston-based creative editori- al company Editbar. Sound Lounge partner/COO/sound designer Marshall Grupp believes the studio is leading a new era in remote mixing, thanks in part to its custom technology. While Sound Lounge Everywhere extends just to Boston at the moment, the company can — and will, according to execs — use this model to attract and grow business in other markets outside of New York City. Sound designer/mixer Glen Landrum showed me just how seamless the process is, with matching monitors and displays in both New York and Boston, giving clients the same experience from either location. Just down Fifth Avenue, head of production Laura Patterson took me on a tour of PS 260's 10,000-sq.-ft. space. The studio has multiple rooms for editing, graphics and Flame finishing, and its commercial clients have lots of room to stretch out while attending sessions, be it on the rooftop deck, which offers incredible views of city landmarks; in the fully-equipped kitchen, which features freshly-made snacks throughout the day; or in its well-stocked bar/lounge. Studio co-founder/partner John Zieman says that clients' positive experiences at PS 260 have drawn their business outside of New York on occasion, to cities such as Boston or Atlanta, where they'll set up temporary space in which to work. But realistically, most of their work takes place in Manhattan, where PS 260's employees also appreciate the studio's many amenities. Zieman says PS 260 grooms talent from within, rather than acquiring it from outside. The in-house services are attractive to clients, but also inspire and motivate employees. Providing a "path to grow" also helps keep talent there for the long term. ost has really raised the bar this year by amping up our coverage of the new fall TV season. With all writers onboard, we spoke with post industry pros, from coast to coast, about some of the innovative and exciting work they're doing for the new tele- vision season, just as many of the shows were premiering. FuseFX, a visual effects house known for its work in television, spoke with me about its contributions to Seth MacFarlane's new sci-fi comedy, The Orville, which premiered last month on Fox. VFX supervisor Tommy Tran talked about the studio's detailed digital matte paintings for the show's pilot episode while Halon Entertainment's previs supervisor Kenny DiGiordano outlined how his studio's previs work helped establish some of the show's key environments and the movement of the Orville spacecraft itself (see page 16). Post's Iain Blair speaks in detail with The Duffer Brothers — creators, writers, directors of the hit Netflix series, Stranger Things — about their show's sophomore season, set to return with all-new episodes this month (see page 18), and a bigger focus on visual effects. Christine Bunish got some insight from Technicolor PostWorks New York, which handled the complete post workflow for Season 1 for HBO's The Deuce; Mango and its family of companies, which handle all of the post for the new Fox series Ghosted (this month's cover) and Encore Hollywood, which provides full post services, including VFX for the new CBS action/drama, SEAL Team. In the same feature, Marc Loftus went behind the scenes of the new NBC drama, The Brave, with executive producer John Terlesky (see page 20). Audio editor Jennifer Walden spoke with audio pros — including Tattersall Sound & Picture, NBCUniversal StudioPost, Sony Pictures Post and Formosa Group's new NoHo facility — about capturing the perfect sound for some of TV's hottest and newest police dramas…and comedies. Here, she looks at NBC's Chicago P.D., CBS's Hawaii Five-0, Fox's Brooklyn Nine-Nine, and new dramas Ten Days in the Valley (ABC ) and S.W.A.T. (CBS). See the full story on page 26. Find out more about how these industry pros are continuing to advance television with their contributions in editing, color, workflow, visual effects, previs, audio and more. 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